“…These changes are expressed through the deposition of flint-working products and debris as offerings. This act questions the authority controlling craft production: from the first two dynasties, the royal rulers did not just remain at the centre of the vast dynamic of accumulation and redistribution of goods; they also needed to control the associated networks to ensure their wealth and sustain their legitimacy (Midant-Reynes 2003).…”
Section: Discussionmentioning
confidence: 99%
“…Aside from the sacred precinct of Osiris, it comprises almost exclusively funerary monuments, from the Naqada IB-C/IIA and IID1-D2/IIIA-B phases (‘Cemetery U’, 3700–3050 BC) to the New Kingdom (1550–1069 BC). Figure 1. Location map and plan of ‘Cemetery B’ (after Dreyer et al 1996; source: Google Earth 2011). Figure 2. Chronological framework of the study (after Midant-Reynes 2003). …”
“…These changes are expressed through the deposition of flint-working products and debris as offerings. This act questions the authority controlling craft production: from the first two dynasties, the royal rulers did not just remain at the centre of the vast dynamic of accumulation and redistribution of goods; they also needed to control the associated networks to ensure their wealth and sustain their legitimacy (Midant-Reynes 2003).…”
Section: Discussionmentioning
confidence: 99%
“…Aside from the sacred precinct of Osiris, it comprises almost exclusively funerary monuments, from the Naqada IB-C/IIA and IID1-D2/IIIA-B phases (‘Cemetery U’, 3700–3050 BC) to the New Kingdom (1550–1069 BC). Figure 1. Location map and plan of ‘Cemetery B’ (after Dreyer et al 1996; source: Google Earth 2011). Figure 2. Chronological framework of the study (after Midant-Reynes 2003). …”
“…En esta línea, el perfil egipcio es una institución gráfica referida al cuerpo que no surge exnovo, sino que viene dada por la anamnesis de modelos precedentes, es decir, a través del refinamiento de siluetas ya realizadas relativas a las acciones de dominación tanto del enemigo como de los animales. Según atestiguan las escenas de la tumba egipcia pintada más antigua conocida en Egipto, la tumba 100 de Hieracómpolis (Nagada II, 3500-3200 a.C.), cuyos fragmentos se conservan en el Museo Egipcio de El Cairo, vemos imágenes de navegación, caza y lucha (Quibell y Green, 1902;Midant-Reynes, 2003) en las que los personajes emulan a unos cuerpos que no son bultos estáticos en el espacio, sino seres que necesitan desenvolverse dinámicamente para sobrevivir (fig. 1).…”
Section: La Iconografía Del Faraón Y La Figura Canónica Egipciaunclassified
El origen de la figura canónica egipcia tiene lugar en los períodos previos al dinástico, y surge tras un proceso de conceptualización gráfica. Será en la fase dinástica cuando se estandarice este modelo, y comience a incorporar gradualmente algunos elementos humanos relativos a la gestualidad y al movimiento, especialmente durante la Dinastía XVIII. Estas son características centrales porque codifican todo un universo de formas sociales relativas a los individuos egipcios que viven organizados en forma de Estado. Así, las figuras son cada vez más representativas de lo humano, por lo que aumentan su capacidad para organizar y clasificar lo antropológico.
“…Despite the technological dimension of metallurgy in the Nile valley from its very beginning (early fourth millennium bc ), many religious practices from the Predynastic period onwards are inspired by metallurgy. For example, malachite served as grave deposits, and it was spread on the dead before burial, as revealed by the green colour frequently observed on bones (Midant-Reynes 2003, 164–74,180–84). The presence of charcoals, slag and furnace residuals in funeral contexts confirms the metallurgical dimension of this practice attested in the Predynastic period.…”
Section: Refurbishing Ghassulian Values In the Bronze Agementioning
The causes of the disappearance of Late Chalcolithic society (Ghassulian) in the early fourth millennium bc remain obscure. This study identifies the collapse as the consequence of a change in the approach to metallurgy from cosmological fundament (Late Chalcolithic) to a practical craft (EB1). This endogenous transition accounts for the cultural recession characterizing the transitional period (EB1A) and the discontinuity in ritual practices. The new practical approach in metallurgy is firstly observed in the southern margin of the Ghassulian culture, which produced copper for distribution in the Nile valley rather than the southern Levant. Nevertheless, the Ghassulian cultural markers visible in the newly emerging areas of copper working (southern coastal plain, Nile valley) denote the survival of the old cosmological traditions among metalworkers of the EB1 culture. Their religious expression unveils the extension of the Ghassulian beliefs attached to metallurgy and their metamorphosis into the esoteric fundaments of the Bronze Age religions.
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